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dc.contributor.advisorLotman, Maria-Kristiina, juhendaja
dc.contributor.authorMikkel, Annika
dc.contributor.otherTartu Ülikool. Humanitaarteaduste ja kunstide valdkondet
dc.date.accessioned2020-10-13T07:24:07Z
dc.date.available2020-10-13T07:24:07Z
dc.date.issued2020-10-13
dc.identifier.isbn978-9949-03-471-0
dc.identifier.isbn978-9949-03-472-7 (pdf)
dc.identifier.issn1406-8192
dc.identifier.urihttp://hdl.handle.net/10062/69842
dc.description.abstractAntiikajal kujunesid välja spetsiifilised proosarütmi põhimõtted, mille kohaselt tuli proosat rütmistada teistmoodi kui luulet, kasutades fraaside lõpul kindlaid rütmiskeeme. Klassikaline proosarütm baseerus eri kvantiteediga (raskete ja kergete) silpide vaheldumisel. Sajandite jooksul see süsteem lihtsustus ning kvantiteedi kõrval muutus oluliseks ka sõnarõhk. Keskaegne proosarütm baseerus ainult sõnarõhul (st rütmiskeemides vaheldusid rõhulised ja rõhuta silbid) ning sel põhimõttel rütmistatud lauselõppu kutsuti cursusʼeks. Oma doktoritöös uurisin seda, milliseid proosa rütmistamisviise ja millises ulatuses esineb nii 14. sajandi itaalia rahvakeelses kui ladinakeelses proosas: kas on keelte vahelisi erinevusi, kas eri autorite puhul on märgata eelistatud või välditud lauselõpurütme? Uurisin ka sõnapiiride paigutust lauselõpurütmides. Uurimuse keskmes olid Dante Alighieri (1265-1321) proosavormis tekstid, kuid võrdleval eesmärgil analüüsisin valimeid nii Dante kaasaegsete autorite Franco Sacchetti, Giovanni Boccaccio ja Giovanni Villani kui ka 16. sajandi autorite Pietro Bembo ja Niccolò Machiavelli teostest. Eraldi analüüsisin ladina- ja itaalia rahvakeelseid tekstivalimeid ning samuti võrdlesin omavahel sama autori erinevaid teoseid ja võimalusel ka sama teose erinevaid peatükke. Uurimistöö tulemuste põhjal on näha, et 14. sajandil esines rütmilisi lauselõppe nii ladina- kui itaalia rahvakeelses proosas. Cursus’i leidub kõikide analüüsitud autorite igas valimis, kuid nende kasutamises tulid analüüsiga esile märkimisväärsed erinevused nii ladina- ja itaaliakeelse proosa vahel kui ka erinevate autorite vahel. Kohati on eri autoritel võimalik täheldada üsna kindlaid eelistusi teatud cursus’te kasutamisel. Dante teoste analüüs näitas, et tema ladinakeelsetes tekstivalimites on cursus’te esinemissagedus väga kõrge just esimestes peatükkides ning erinevate lauselõpurütmide esinemine võib ühe valimi raames peatükiti olulisel määral erineda. Ka Dante itaaliakeelsetes teostes õnnestus osades peatükkides tuvastada teatud lauselõpurütmide oodatust suurema esinemuse. Doktoritöö tulemused pakuvad mitmeid suundi, millele tulevastes analüüsides keskenduda.et
dc.description.abstractIn antiquity, specific prose rhythm principles were developed, following from the idea that prose had to be rhythmicised differently than poetry, using specific rhythmic units mostly at the end of sentences and clauses. The ancient prose rhythm was based on the quantity of syllables. Over centuries, this system was simplified and, in addition to quantity, word stress became relevant as well. Medieval prose rhythm was based purely on word stress and a rhythmic unit was called cursus. In my doctoral thesis I analysed the occurrences of different rhythmic units both in 14th-century Italian vernacular and Latin prose. I wanted to establish whether there are any differences between languages and between authors, or whether different authors preferred or avoided any specific rhythms. I also studied the role of word boundaries both in the Italian and Latin cursus. The study focused on prose works by Dante Alighieri (1265-1321). However, for comparison I also analysed samples from the prose of Franco Sacchetti, Giovanni Boccaccio and Giovanni Villani, and from the works of 16th-century authors (Pietro Bembo and Niccolò Machiavelli). I separately analysed the Latin and Italian text samples and compared different works by the same author and different chapters of the same work, if possible. The results of this research showed that in the 14th century rhythmic units were present both in Latin prose and in Italian vernacular prose. Cursus were found in all samples of every analysed author. However, the analysis revealed significant differences both between Latin and Italian prose and between different authors. Here and there, different authors had quite distinct preferences for using certain cursus forms. The analysis of Dante’s works showed that in his Latin samples the incidence of cursus was very high in the first chapters, and the occurrence of different cursus within the same sample may vary considerably from one chapter to another. Additionally, the accumulation of certain rhythms was detected in some chapters of Dante’s Italian works. The results of this thesis offer several directions for the future analyses.en
dc.description.urihttps://www.ester.ee/record=b5376890et
dc.language.isoestet
dc.relation.ispartofseriesDissertationes studiorum graecorum et latinorum Universitatis Tartuensis;10
dc.rightsopenAccesset
dc.rightsAttribution-NonCommercial-NoDerivatives 4.0 International*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjectLatin languageen
dc.subjectItalian languageen
dc.subjectproseen
dc.subject14th centuryen
dc.subject.otherdissertatsioonidet
dc.subject.otherETDet
dc.subject.otherdissertationset
dc.subject.otherväitekirjadet
dc.subject.otherladina keelet
dc.subject.otheritaalia keelet
dc.subject.otherproosaet
dc.subject.other14. sajet
dc.subject.othersõnarõhket
dc.titleRütmilised lauselõpud 14. sajandi ladinakeelsetes ning itaalia rahvakeelsetes proosateosteset
dc.title.alternativeRhythmic clausulae in the 14th-century Latin and Italian vernacular prose textset
dc.typeThesiset


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